In a small suburb south-east of Mexico City live Delfino Castillo Alonso and his wife Angela Torres de Castillo. They both create a unique type of masks work used for the Charro or Country Gentleman carnival. Mr. Castillo carries on a tradition passed down from his great grandfather to his grandfather and to Mr. Castillo of making masks out of wax. The masks are primarily worn by Carnival masqueraders in small towns around Mexico City and the State of Mexico. The masks are primarily used for the Traje (Suit) de Charro or de Ledita.
Technique: The masks are made out of wax formed over plaster of Paris mold. The process begins by placing 3 layers of starched cotton cloth (manta) over the plaster mold. Then the cotton layer is painted pink with a forchina powder to attain the color of the skin. The painted cloth mask is then let to dry for 5 hours under the sun. Ingot bee wax is melted and poured over the cloth mask. This particular and unique technique allows for a very realistic facial features of the mask. The masks are enhanced with detail painting around the eyes, cheeks and forehead. The addition of eyebrows, mustaches, and beards made from ixtle (agave fiber) and horse's tail to create different characters such as the Charros. The mask has gold teeth. The dancer attaches the mask to his face using the color ribbon in the mask forehead.

He started his career in 1955, when his product won the first prize in a regional ogoh-ogoh competition Chandra?s skill in creating unusual ogoh-ogohs has attracted many orders coming not only from Hindus in Bali, but also from hotels in Nusa Dua, Kuta Jimbaran, and Sanur.
The ogoh-ogoh figure is a big statue made of bamboo frame enclosed by paper mache or cloth. The figure?s face is made of cork or a wood carved depending on the form desired. It is decorated by paint or feathers made of fibers of plant that has already been processed.

We would like to introduce you to our professional skills as wigmasters, designers and makeup artists. We are dedicated to the individual needs of each wig and each production. We use techniques established in traditional theater, film and television, and for non-surgical hair replacement